Title: Reimagining the Fairy Tale Knight: Fleming's Appropriation and Deconstruction in "Casino Royale" Thesis: Ian Fleming's "Casino Royale" serves as a captivating study of the appropriation and deconstruction of the traditional fairy tale knight archetype. Through the character of James Bond, Fleming both embraces and challenges the conventions of chivalry, ultimately presenting a complex and multifaceted portrayal of the modern hero. Introduction: Ian Fleming's "Casino Royale" introduces readers to a new kind of hero in James Bond, whose character embodies both the traditional qualities of the fairy tale knight and a subversion of those very ideals. By examining Bond's actions, relationships, and conflicts within the novel, it becomes evident that Fleming engages …show more content…
Like the traditional knight, Bond exhibits bravery, loyalty, and a sense of duty to protect the innocent. His proficiency in combat, charm with women, and adherence to a personal code of honor parallel the virtues often associated with knights in classical literature. For example, Bond's unwavering commitment to his mission, despite personal risks, mirrors the dedication of knights to their quests. Deconstruction of the Fairy Tale Knight: However, Fleming simultaneously deconstructs the fairy tale knight archetype through Bond's flaws, complexities, and morally ambiguous actions. Unlike the idealized knights of lore, Bond is depicted as a flawed and sometimes ruthless individual, willing to bend or break the rules to achieve his goals. His willingness to engage in violence, manipulation, and even betrayal challenges the traditional image of the noble and virtuous knight. For instance, Bond's relationship with Vesper Lynd is fraught with deceit and manipulation, showcasing the darker aspects of his
Beginning in 1962 with Sean Connery, the fictional MI6 spy James Bond has been played by a plethora of actors. At first, Mr. Bond was notorious as a cold, deadly killer and a conniving womanizer. However, as the actors for the role began to turn over, so did the portrayal of 007. For nearly fifty years the role was in constant transition with directors trying new things like adding humor or making Bond less promiscuous in an effort to craft the role to each new actor. In the end, Bond returned to his roots as a brutal, undisciplined agent played by Daniel Craig. While James Bond is no George Spiggott and Ian Fleming is no Christopher Marlow, a similar turnover can be seen between the works Dr. Faustus and Bedazzled. To begin with, the 1967 film Bedazzled is somewhat of a satirical retelling of the Faust narrative from the 1600s, and although many years separate each story, they are still very comparable. The relationship between these two works provides a social commentary on the perception of the Devil’s power during each time period and helps highlight humanity’s changing connection with God as a result of this.
The film The Princess Bride, directed by Rob Reiner, is describe as “Thrilling, exciting, very funny and absolute magic”. No wonder the film has entertained audiences since its release in 1987. While its entertainment value in generally agreed upon, The princess Bride is not precisely inventive, nor original. Westley, the hero, fits closely the profile of the Classic Hero. Similar, the film’s plot mirrors the path followed by the classic hero, across thresholds and into a fantastic adventure. And, like the Classic Hero, Westley must undergo a series of ordeals before he can achieve his goal, to rescue “Buttercup”, and prove true love can overcome all obstacles. The Princess Bride, like most contemporary fantasies, is a retelling of the Heroic
In the movie A Knight’s Tale the two main knights were William Thatcher and Count Adhemar. They both showed chivalry and courtly love, but not correctly. More of chivalry was followed more and the right way. The movie is very loosely based on Geoffrey Chaucer’s book Canterbury Tales. His father always wanted him the change his stars so he would not live in poor life forever. Even though both knights were good, William was better because he followed chivalry, courtly love, and prowess in battle.
Thomas Malory’s Le Morte D’arthur, T.H. White’s Once and Future King, and George Romero’s Knightriders encompass the evolution of the Arthurian tale from Malory’s time to the 1980s. Through this time many things have changed and these changes can be seen within the differences between each work. While there are many prominent differences chivalry or the knightly code is one of the main forces that tie these tales together. Malory reworks many of his sources to bring attention to the grand fellowship of Arthur’s Round Table and the chivalry that holds the knights together. Malory idealizes the power of chivalry and gives a great importance to it throughout his text. Unlike Malory, White does not idealize chivalry, but he does see the good and honorable aspects of chivalry. From Sprague Kurth’s article, “Conclusion,” it is clear to see that White gives his text an anti-war stance and shows chivalry and the controlling moral compass of Arthur’s knights. Chivalry is once again idealized in George Romero’s Knightriders the situations within the film are modernized but the emotions and illusions remain the same. T.H. White is directly referenced within the film and Malory’s idealization of the glory of chivalry can once again be seen. In my essay, I will show how chivalry is used in all the texts above as a bonding agent between all Arthurian knights. As Arthur’s knights honor and respect chivalry they remain as one cohesive group, but once they begin to abandon chivalry the Round Table begins to crumble and chaos ensues.
The film Monty Python and the Holy Grail satirizes the medieval “epic hero” through parodying actual heroes in medieval literature. The comedy film displays important medieval values in a humorous light and pokes fun at Arthurian legends. Sir Gawain and the Green Knight and other tales of Arthur’s Knights of the Round table are heavily parodied through out the film. The medieval tales often include the knight errant, or a knight who wandered the lands in search of chivalrous adventures, and throughout the film Arthur and his newly formed gang portray the knight errant as foolish and cowardly.
The poem, Sir Gawain and the Green Knight, tells of one knights struggle to uphold the code of chivalry. What makes a knight a noble knight? Why does this social standard force us to hold this individual to higher expectations? What should we think about Sir Gawain when he breaks his vows in Sir Gawain and The Green Knight? How does Sir Gawain and Arthur’s court pass the test of The Green Knight? This paper will argue that Sir Gawain, despite his mistakes, is the greatest knight because of his repentance and the lesson he learns when he encounters The Green Knight.
Keen opens his book with an introductory chapter examining three literary works pertaining to chivalry: the Ordene de Chevalerie, the Book of the Ordre of Chyvalry, and the Book of Chivalry. All three of these were written during a period of great religious reform, yet, according to Keen, they appear to not have been influenced by the ideas of the Church. The Ordene de Chevalerie is an anonymous poem that stresses the importance of the ritual required for initiation into knighthood. The popularity of the piece leads to the conclusion that the poem reflects “what men understood chivalry to mean” (8). This poem is then contrasted by the Book of the Ordre of Chyvalry, a narrative work written by Ramon Lull that describes in detail the origins and meaning of chivalry. A consideration of Geoffrey de Charny’s ...
Sir Gawain is presented as a noble knight who is the epitome of chivalry; he is loyal, honest and above all, courteous. He is the perfect knight; he is so recognised by the various characters in the story and, for all his modesty, implicitly in his view of himself. To the others his greatest qualities are his knightly courtesy and his success in battle. To Gawain these are important, but he seems to set an even higher value on his courage and integrity, the two central pillars of his manhood.
The Arthurian legends of Iwein and Gawain and the Green Knight are two examples of the medieval initiation story: a tale in which a character, usually in puberty or young adulthood, leaves home to seek adventures and, in the process, maturity. Through the course of their adventures, including a meeting with the man of the wilderness, temptations at the hands of women, and a permanent physical or mental wounding, the character grows from adolescent awkwardness and foolishness to the full potential knightly honor. While both Arthurian legends fit this format, the depth of character development, specifically in terms of relationships, is vastly different. Whereas Gawain and the Green Knight does little more with relationships than demonstrate the evils of female temptations, Iwein effectively explores the formation, destruction, and resurrection of numerous male and female relationships.
In Medieval Times knights are the protectors. The knights fight for, and obey the king. And for that reason Knight’s are in high rankings in the class system, compared to the peasants and merchants. The Canterbury Tales by Geoffrey Chaucer, people are going on the pilgrimage to Canterbury for Salvation. The knight is Chaucer’s ideal of a night should be. The knight is a highly principled killer who travels the world and fights for what he believes in with unequivocal bravery and valor.
In Gordon M. Shedd’s “Knight in Tarnished Armour: The Meaning of Sir Gawain and the Green Knight”, he argues that Sir Gawain and the Green Knight is truly about the strength and weaknesses of human nature. One particularly interesting part of his argument asserts that Gawain’s humanity broke medieval romance tradition.
Literature is a very powerful thing and has been used to enhance the world. But is it powerful enough to be a vehicle for promoting change in society? The answer to that question is yes. One example is the book “To Kill a Mockingbird” by Harper Lee. This book is about a white family living in a small Alabama town in the 1930’s. Throughout this book the family witness’s mistreatment of blacks and injustice. This book was an effective vehicle for promoting change.
...ghthood within their story. Both poets remind the readers of the disparity between the ideals of chivalries presented in romances, and the reality of lived knighthood, highlighting how problematic the understanding of chivalry and Christianity (knighthood) could be for medieval audiences. Though chivalry shines as a brilliant light of the high civilization in the fourteenth century, both tales suggests that chivalry is at best a limited system, which achieves its brilliant at the cost of a distortion of natural life. It was part of the social and ethical system but did not take into account the entire range of human needs, mainly the fact of human morality and sense of human frailty. The context in which knights are depicted and celebrated in the medieval romance does not support a smooth connection between the harsh realities of a century of internecine strife.
Closely associated to the romance tradition are two idealized standards of behavior, especially for knights: courage and chivalry. The protagonist within many medieval romances proved their worth by going on quests, as many a knights went in those times, thus returning with great tales of their travels and deeds. Many modern people think of chivalry as referring to a man's gallant treatment of women, and although that sense is derived from the medieval chivalric ideal, chivalry could be seen as more than that. Knights were expected to be brave, loyal, and honorable-sent to protect the weak, be noble to...
Sir Gawain and the Green Knight. Norton Anthology of English Literature. Ed. M.H.Abrams, et.al. Volume 1. New York: W.W. Norton & Company, 1993. 200-254.